{"title":"布莱克的希伯来文书法","authors":"Abraham Samuel Shiff","doi":"10.47761/biq.101","DOIUrl":null,"url":null,"abstract":"The exhibition at the Morgan Library and Museum of William Blake’s World: “A New Heaven Is Begun” (Sept. 2009-Jan. 2010) provided an opportunity to examine closely Blake’s Hebrew calligraphy. Three works in the exhibition contain errors in forming Hebrew characters; some are deliberate to create clever visual illusions.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"10 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Blake’s Hebrew Calligraphy\",\"authors\":\"Abraham Samuel Shiff\",\"doi\":\"10.47761/biq.101\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The exhibition at the Morgan Library and Museum of William Blake’s World: “A New Heaven Is Begun” (Sept. 2009-Jan. 2010) provided an opportunity to examine closely Blake’s Hebrew calligraphy. Three works in the exhibition contain errors in forming Hebrew characters; some are deliberate to create clever visual illusions.\",\"PeriodicalId\":39620,\"journal\":{\"name\":\"Blake - An Illustrated Quarterly\",\"volume\":\"10 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-05-12\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Blake - An Illustrated Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.47761/biq.101\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Blake - An Illustrated Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.47761/biq.101","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Arts and Humanities","Score":null,"Total":0}
The exhibition at the Morgan Library and Museum of William Blake’s World: “A New Heaven Is Begun” (Sept. 2009-Jan. 2010) provided an opportunity to examine closely Blake’s Hebrew calligraphy. Three works in the exhibition contain errors in forming Hebrew characters; some are deliberate to create clever visual illusions.
期刊介绍:
Blake/An Illustrated Quarterly was born as the Blake Newsletter on a mimeograph machine at the University of California, Berkeley in 1967. Edited by Morton D. Paley, the first issue ran to nine pages, was available for a yearly subscription rate of two dollars for four issues, and included the fateful words, "As far as editorial policy is concerned, I think the Newsletter should be just that—not an incipient journal." The production office of the Newsletter relocated to the University of New Mexico when Morris Eaves became co-editor in 1970, and then moved with him in 1986 to its present home at the University of Rochester.